It is easy to make delicious-looking hamburger at home. But would this
hamburger still look delicious after it sat on your kitchen table under very
bright lights for six or seven hours? if someone took a picture or made a video
of this hamburger after the seventh hour, would anyone want to eat it? More
importantly, do you think you could get millions of people to pay money for
this hamburger? These are the questions that fast food companies worry about
when they produce commercials or print ads for their products. Video and photo
shoots often last many hours. The lights that the photographers use can be
extremely hot. These conditions can cause the food to look quite unappealing to
potential consumers. Because of this, the menu items that you see in fast food
commercials are probably not actually edible.Let's use the hamburger as an
example. The first step towards building the commercial hamburger is the bun.
The food stylist--a person employed by the company to make sure the products
look perfect--sorts through hundreds of buns until he or she finds one with no
wrinkles. Next, the stylist carefully rearranges the sesame seeds on the bun
using glue and tweezers for maximum visual appeal. The bun is then sprayed with
a waterproofing solution so that it will no get soggy from contact with other
ingredients, the lights, or the humidity in the room.Next, the food stylist
shapes a meat patty into a perfect circle. Only the outside of the meat gets
cooked-the inside is left raw so that the meat remains moist. The food stylist
then paints the outside of the meat patty with a mixture of oil, molasses, and
brown food coloring. Grill marks are either painted on or seared into the meat
using hot metal skewers.Finally, the food stylist searches through dozens of
tomatoes and heads of lettuce to find the best-looking produce.One leaf of the
crispest lettuce and one center slice of the reddest tomato are selected and
then sprayed with glycerin to keep them looking fresh. So the next time you see
a delectable hamburger in a fast food commercial, remember: you are actually
looking at glue, paint, raw meat , and glycerin. Are you still hungry?
Question:
Based on information in the passage, it is most important for the lettuce and tomato used in a fast food hamburger commercial to
The public distribution system, which provides food at low
prices, is a subject of vital concern. There is a growing realization that
thought Pakistan has enough food to feed its masses three square meals a day,
the monster of starvation and food insecurity continues to haunt the poor in
our country.
Increasing the purchasing power of the poor through
providing productive employment leading to rising income, and thus good standard
of living is the ultimate objective of public policy. However, till then, there
is a need to provide assured supply of food through a restructured more
efficient and decentralized public distribution system (PDS).
Although the PDS is extensive – it is one of the largest
such systems in the world – it has yet to reach the rural poor and the far off
places. It remains an urban phenomenon, with the majority of the rural poor
still out of its reach due to lack of economic and physical access. The poorest
in the cities and the migrants are left out, for they generally do not possess
ration cards. The allocation of PDS supplies in big cities is larger than in
rural areas. In view of such deficiencies in the system, the PDS urgently needs
to be streamlined. In addition, considering the large food grains production
combined with food subsidy on one hand and the continuing slow starvation and dismal
poverty of the rural population on the other, there is a strong case for making
PDS target group oriented.
The growing salaried class is provided job security, regular
income, and percent insulation against inflation. These gains of development
have not percolated down to the vast majority of our working population. If one
compares only dearness allowance to the employees in public and private sector
and looks at its growth in the past few years, the rising food subsidy is
insignificant to the point of inequity. The food subsidy is a kind of D.A. to
the poor, the self-employed and those in the unorganized sector of the economy.
However, what is most unfortunate is that out of the large budget of the so –
called food subsidy, the major part of it is administrative cost and wastages.
A small portion of the above budget goes to the real consumer and an even
lesser portion to the poor who are in real need.
It is true that subsidies should not become a permanent feature
except for the destitute, disabled widows and the old. It is also true that
subsidies often create a psychology of dependence and hence is habit – forming,
killing the general initiative of the people. By making PDS target group
oriented, not only the poorest and neediest would be reached without additional
cost, but it will actually cut overall costs incurred on large cities and for
better off localities. When the food and food subsidy are limited the rural and
urban poor should have the priority in the PDS supplies. The PDS should be
closely linked with programs of employment generation and nutrition
improvement.
Which of the following is true of public distribution
system?
I am writing in response to response
to the article “Protecting our public spaces” in issue 14, published this
spring in it, the author claims that “all graffiti is public spaces.” I would
like to point out that many people believe that graffiti is an art from that
can benefit our public spaces just as much as sculpture, fountains, or other,
more accepted art forms.
People who object to graffiti
usually do so more because of where it is, not what it is. They argue, as your
author does, that posting graffiti in public places constitutes an illegal act
of property damage. But the location of such graffiti should not prevent the
images themselves from being considered genuine art.
I would argue that graffiti is the
ultimate public art form. Spray paint is a medium unlike any other. Though
graffiti, the entire world has become a canvas. No one has to pay admission or
travel to a museum to see this kind of art. The artists usually do not receive
payment for their efforts. These works of art dotting the urban landscape are
available, free of charge, to everyone who passes by.
To be clear, I do not consider
random words or names sprayed on stop signs to be art. Plenty of graffiti is
just vandalism, pure and simple. However, there is also graffiti that is
breathtaking in its intricate detail, its realism, or its creativity. It takes
great talent to create such involved designs with spray paint.
Are these creators not artists
just because they use a can of spray paint instead of a paintbrush, or because they
cover the side of a building rather than a canvas?
To declare that all graffiti is
vandalism, and nothing more, is an overly simplistic statement that I find out
of place in such a thoughtful publication as your magazine. Furthermore,
graffiti is not going anywhere, so might as well find a way to live with it and
enjoy its benefits. One option could be to make a percentage of public space,
such as walls or benches in parks, open to graffiti artists. By doing this, the
public might feel like part owners of these works of art, rather than just the
victims of a crime.
In this passage, the writer argues
that graffiti